Remarks on rural scenery : with twenty etchings of cottages, from nature : and some observations and precepts relative to the pictoresque

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LONDON :
CUINTI-U BV S. AND R. BENTLEV, DOft.^EI STKtE,

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B^ JOHN XhBoVIAS SM

Eii<5raver of tKe Ai

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;::-:-:■;■ L O -isr I) 0]Sr June 311) c cx^

Printeif or axicL f oldl^yl^athaniel SmithaiicaentTrim
icller atBembraiiats Head. ]y[ajys^
: .: Laive and I T^ Smidi ,a t N^ 4 o TritK S treet.5oho .

ADVERTISEMENT.

IN the course of my little readhig, I have too frequently observed
prefaces, promising information -which the reader hath never heen able to
find, and dedications in -which the dedicator hath extolUd the dedicatee
for virtues -which not only did not exist in that particular instance, but
cojdd hardly have existed in any other: I am afraid therefore, that
these prefaces and dedications cannot be considered as very creditable on
either side; and shall accordingly offer these slight memorials to the pub-
lic, not, I trust, -without that deference and respect -which becomes so
humble a claimant on it's attention, but -without either of the ceremonies
in question ; and instead of pretending to disclaim all views of vanity
or of interest — (points on "which, in 7?iy humble opinion, no author ought
to be believed) — freely ackno-wledge that I hope, in ho-wever small
a degree, both to please my reader, and benefit myself:

'■'IF — (to use the language of Mr.Walpole) — some parts of
" this "work are more accurate than my own ignorance or carelessness
" -would have left them, I must insist upon telling the -world that lam in-
" debtedfor that advantage to my friend Mr- Cranch, -who obligingly
" condescended to cori'ect, -what he could not have descended to write."

/ take this opportunity to return my very sincere thanks to the
Ladies and Gentlemen -whose subscriptions have encouraged this pub-
lication; in particular to Mr. Wyatt, of Egham, for his goodness to
me on this and many other occasions.

JOHN THOMAS SMITH.

No. 40, Frith Street, Soho ;
2,dof July, 1797.

REMARKS

O N

RURAL SCENERY.

OF VARIOUS FEATURES AND SPECIFIC BEAUTIES
IN COTTAGE SCENERY

OF all pictoresque subjects, the English cottage seems to have
obtained the least share of particular notice and appropriate
discriminations by modern tourists: Palaces, castles, churches,
monastic ruins, and the remains, and even vestiges and con-
jectural situations, of our ancient feudal and ecclesiastical struc-
tures, have been elaborately, and indeed very interestingly
described, with all their characteristic distinctions, while the
objeas comprehended by the tenn cottage scenery have by no
means been honored with equal attention ; and this, it should

( 6 )

seem, merely because, though of equal excellence in the scale of
pictoresque beauty, that beauty happens not to be of the heroic or
sublime order: It seems not to have been sufficiently considered
that the landscape-painter's beauty does not necessarily exist in
grandeur, exclusively or alone; but equally pervading every depart-
ment of Nature, is found not less perfect in the most humble than
in the most stately structures, or scenery.

The fnets indeed appear to have entered more feelingly into
this pleasing investigation, and into those more accurate discrimi-
nations of feature, and of character, which we find a want of in
\\\e tourists : Still, however, even zA^zr animated descriptions have
been too general and monotonous : The larger subjects have been
treated with the most respectful circumstantiality, while one
unvarying and uniform idea has served to describe every cottage
in the kingdom.

I am, however, by no means cottage-mad ; and without
entering into any idle competition between those major and minor
beauties, am content that rural and cottage-scenery shall be con-
sidered as no more than a sort of low-comedy landscape ; and upon
that ground venture to present those very imperfect specimens of
their amusing varieties, which will be found in the annexed etch-
ings. In the preceding observations, I am far from the presump-
tion of meaning any reflection on the foets : It is perhaps their business

to be general: Thompson, Shenstone, Cooper, and others,

have drawn some of their most spirited sketches from the secluded

( 7 1

village ; and Mr. Knight's image of a inistic habitation, appears
to me to be as beautiful as a general image can be. t And as to the
tourists, if they have been so negligent as 1 have presumed to suppose
them, my present attempt will have but so much the better claim
to the attribute of novelty, and I shall be more indebted to their
negligence, than I could have been to their attention. I come
now to the painter :

Of Gainsborough, it ever must and will be acknowledged
that, with all his inattentions, the path he took to fame was un-
unquestionably his own — original and legitimate : He appears to
have been the first English master that had courage to quit the dull
unvarying routine in rural painting, and from more profound and
accurate observations of Nature, to give distinct characteristics
and original varieties to his cottagery, and to the furniture and
circumstances with which his best works are so eminently enriched :
His woodmen, shepherds, dairy -maids, cottage-children, pigs, dogs,
fallen timber, leafless stumps, thorny and bramble fences, and
other incidents of rural oeconomy, have the full merit of originality,
both in the selection and in the combination.

f " Nor yet unenvied to whose humbler lot
«' Falls the retired antiquated cot :
" It's roof with reeds and mosses cover'd o'er,
" And honey-suckles climbing round the door ;
« While mantling vines along it's walls are spread,
^' And dust'ring ivy decks the chimney's head."

THE LANDSCAPE; a Poem.

( 8 )

The course of practice pursued by this very eminent and
valuable artist, affords an important lesson to the student of paint-
ing : His earliest essays, of which I have had the pleasure of ex-
amining a great number, appear to have been as exactly imitative
as possible, and to have been executed with the most careful and
laborious precision : The consequence of which was — a rapid ad-
vancement to that stile of broad and comprehensive pencilling
which distinguish his mature works ; in which the full effect of
high -finishing is produced by a few broad and simple dashes — aji
effect which those never can accomplish who begin with broad-
pencilling, as a principle which they suppose should f recede practice,
and not follo-w, as the result of it.

Cottage-scenery may be divided into two classes, namely,
the neat, and the neglected:

It is a maxim that in poverty, nothing will more easily, or
more universally excite the attentions of benevolence, than the ap-
pearance of neatness and cleanliness: The regular, white-
washed or new brick wall — the glaring red chimney-pot — the
even-thatch'd roof— the equi-distant groups of sweet pea —
and the jasmin prudishly trimmed up into solid columns and
cubes, stiff as a chimney, and hiding perhaps some pictoresque
feature — the square border of flowers planted in exact angles and
carefully preserved to deck the church-going damsel on Sundays —
the oven, exhibiting a smooth unvarying surface of dead plaster, or
decked only with a vine pruned into deformity — the bright

C 9 )

yellow foot-path, straight as a line — all tend to impress an idea of
frugal proprete, and will be sure to call forth the praises of the
good housewife and the thrifty (economist: But it is nothing to
the artist: As good housewives, or as thrifty agronomists we admit
that it is all very well ; but we then turn from this neatness
and regularity, to what ive must esteem a far more profitable
subject — the neglected fast -ruinating cottage — the patched
plaster, of various tints and discolorations, which, like the
garments of Otway's witch, shall

" Seem to speak variety of wretchedness"
— the weather-beaten thatch, bunchy and varied with moss — the
mutilated chimney top — the fissures and crevices of the inclining
wall — the roof of various angles and inclinations — the tiles of
different hues — the fence of bungling workmanship — the wild un-
restrained vine, whose "gadding" branches nearly deprive the cham-
bers of their wonted light — the paper-pasted casement, with here
and there a wisp of straw stuffed through a broken pane — the
decayed bee -hive and the broken basket — the fragment of a chair
or bench — the slatternry of tubs and dishes scattered about the door
— the mischievous pranks of ragged children — the intrusion of pigs
— and the unrepaired accidents of wind and rain — offer far greater
allurements to the painter's eye, than more neat, regular or
formal aiTangements could possibly have done:

( lo )

On these ideas, such as they are, I have endeavored to exhibit,
in the following etchings, as much variety of subject and effect as
the extent of my design, and of my humble abilities, admitted:
They are all from Nature, and indeed some of them were etched
on the spot ; though, notwithstanding the pains I have taken with
them, I must beg leave to repeat that I am well aware they may
still be charged with many faults.

( " )

ON STUDY.

NEATNESS and accuracy of outline are first to be observed :
A Avant of accuracy and propriety in the lines of a drawing,
may give more offence to the judgment than can be expiated by the
utmost diligence and felicity in filing them up : The best works of
art should be copied with close attention ; for it is by attending to
the best painters that oiu: taste is equally formed with that of the
student in literature who studies the classics: Acquainted with the
modes by which the most eminent artists have expressed their con-
ceptions, we view Nature with more delight, and come to perceive
more beauties in her, and tliose more readilj^ than we possibly can
by studying merely on our own individual stock : It is also necessary
for us to attend to the best -writers on the arts ; and to this intention,
the justly -celebrated " Analysis of beauty," by Hogarth, appears
to me to be the most comprehensive and decisive work that has
been produced on the doctrine oi forms; and the best adapted to
the gi-eat purpose of distinguishing pictoresque beauty from that
which is not so, and which consequently is to be always rejected
when no particular exigence requires that it should be retained : Sir
Joshua Reynolds, who has treated of painting in a more abstract,
and therefore, to learners, I apprehend, in a less practical mode

( 12 )

of instruction, calls it "the art of seeing Nature" — a phrase
which, with equal force and felicity, compresses the whole theory
of the science into a single expression ; but which cannot be use-
fully understood, but as it's import results to the mind from the
necessary previous details of study and practice.

In selecting from Nature the objects to be depicted in rural

landscape, the best advice I can offer is that you retire into the

inmost recesses of forests, and most obscnrp and unfrequented

villages: The former will supply the most various models for trees,

underwoods, plants and foliage, whether perfect and living, or

mutilated and in decay ; and the latter, with the simplest and most

artless forms of houses, bridges, gates, barns, fences, and other

rural structures : In such situations too, you will be equally sure

of finding the chastest tints; and in general the happiest choice and

combinations of natural coloring: On the remote wild common —

on the straggling undetermined borders of the forest — or in the

silent sequestered dell, you shall find, unguarded, the richest

treasures of pictoresque Nature — the antient, feeble, roof-oppressed

hovel, fenced with various patches of brick and stone and mud-

mix'd wall with quick hedge — stakes and rails, and wreathings

composed of the stubborn thorn and the pliant willow, here and there

again subdivided, or still more boldly relieved by a bush of smiling

May-thorn, or of the luxuriant-shooting alder — with those little

creeping, rugged paths, stealing into obscurity beneath the umbrage

of the blossomed orchard, or among bunches of alternate furze and

briar, fringed with the dock, the thistle and the various-tinted fern ;

( 13 )

and trod by the wandering ass, or silent-browsing sheep : Situa-
tions like these, afford not only the richest objects and contrasts
crouded in luxuriant varieties, but also (which is at least of equal
importance) the advantage of that silent serenity in which you may
most successfully study and comprehend your objects, indulge your
feelings, and eifect your purposes.

In the theory of rural scenes, so much is irregularity of parts
a contituent of beauty, that it may very nearly be said that equality
Is deformity : Avoid therefore all tame geometrical forms, as of un-
qualifiedly-straight, circular or angular lines, not absolutely neces-
sary to truth or variety ; and if you find your subject infested by
any such, break or evade them by some natural occurrence : Learn
betimes to abhor the practice of clipping the noble and graceful
elm into the sordid shape of a mop, or a broom ; the fence of sprightly
aspiring hawthorn into an absurd vegetable wall ; and the solemn
yew tree into fantastic imitations of a flower-de-luce, a game cock
or a green dragon ! Remember you have nothing to do with these
abominations but to despise them.

( H )

OF FREEDOMS TO BE TAKEN WITH NATURE

AS there are but few Scenes of which the precise, entire and
unqualified image will form a picture, the pictoresque artist
is at liberty not only to introduce, or to leave out ^art\cnla.T features,
as a tree, a hog-trough, or a pig-sty — to deck a hovel with honey -
suckle — change the shape, or the position of a casement — ^break stiff
and formal lines, or reduce the too great predominancy of any par-
ticular object in the piece, but likewise to change the colors of his
thatch, bricks, wood, or any object or circumstance by which his
picture may be filled with greater variety, happier combinations,
or more perfect harmony.

With the topographical draughtsman, it is, in this respect, totally
different : He must copy every circumstance exhibited to his view —
the very color of his bricks, and the exact shape of his ornaments :
He is not at liberty to dispense with an awkward co-incidence of
trees, or of cliimnies — an improbable door — a senseless monotony
of wall — or an eye-fatiguing expanse of roof: Every absurdity,
as well as beauty, must be faithfully depicted, or his drawings
will not hand down to posterity that local and particular truth,
which it is expressly his business and purpose to transmit.

( »5 )

OF LIGHT AND SHADE.

THE Effects of light and shade are to be attributed to
accidents innumerable ; so that every draughtsman may intro-
duce that effect which he thinks most suitable to his purpose ; If
he has a particularly-beautiful part to describe, his light may strike
forcibly upon it: If a deformity — shade, or some better object
may be contrived, to keep it in obscurity.

Upon contemplating pictures by the best masters, particularly
those by Rembrandt, I have observed that the principal light is
most frequently placed near the middle of the scene; and that
above two-thirds of the picture are in shadow : The fine picture
called " The Cradle ", now in the collection of Mr. Knight,
confirms this remark.

Two distinct, equal lights, should never appear in the
same picture : One should be principal, and the rest sub-ordi-
nate, both in dimension and degree : Unequal parts and gradations

V i6 )

lead the attention easily from part to part, while parts of equal ap-
pearance hold it awkardly suspended, as if unable to determine
which of those parts is to be considered as the subordinate. "And
" to give the utmost force and solidity to your work, some part of
" the picture should be as light, and some as dark as possible:
" These two extremes are then to be harmonized and reconciled
" to each other." *

Analogous to this " Rule of thirds ", ( if I may be allowed
so to call it ) I have presumed to think that, in connecting or in
breaking the various lines of a picture, it would likewise be a good
rule to do it, in general, by a similar scheme of proportion ; for
example, in a design of landscape, to determine the sky at about
two-thirds ; or else at about one-third, so that the material objects
might occupy the other two : Again, two thirds of one element,
( as of water ) to one third of another element ( as of land ) ; and
then both together to make but one third of the picture, of which
the two other thirds should go for the sky and serial perspectives — ■
This rule would likewise apply in breaking a length of wall, or any
other too great continuation of line that it may be found necessary
to break by crossing or hiding it with some other object : In short,
in applying this invention, generally speaking, to any other case,
whether of light, shade, form, or color, I have found the ratio of
about tvifo thirds to one third, or of one to two, a much better
and more harmonizing proportion, than the precise formal half, the

* RtYNOLDs's Annot. on Du Fresnoy.

( n )

too-far-extending four-fifths — and, in short, than any other pro-
portion whatever. I should think myself honored by the opinion of
any gentleman on this point ; but until I shall be better informed,
shall conclude this general proportion of two and one to be the most
piftoresque medium in all cases of breaking or otherwise qualifying
straight lines and masses and groupes, as Hogarth's line is agreed
to be the most beautiful, (or, in other words, the most pictoresque)
medium of curves.

( is )

OF COLORING.

EVERY painter knows that a glare of ivhite hurts his eyes
while he is painting ; and indeed the common observer per-
ceives that snow is more or less painful to his sight, when he first
gets into it ; And all bright metals and polished bodies which reflect
the sun's image the most perfectly, are likewise more or less painful
to look at : So that even from these observations, remote as they
seem from the subject, we may infer the impropriety of high glaring
colors, and of sudden and unqualified sparkles of light, in painting ;
such as we have frequently occasion to regret in the elegant produc-
tions of Pynaker.

It is related of Mr. Whiston, that while he was at Cambridge
in 1686, his eyes had been weakened by inadvertently reading much
in a room newly whitened, and which happened to be much exposed
to the direct influence of the sun ; but that by covering this white
surface \v\\h green cloth, he soon recovered his former tone of sight:
That green is the most cheering and salutary color to the eye, is
well known, not only upon the common consideration that the

( 19 )

Creator (of his usual beneficence) has every where inserted it to
meet the most natural and usual direction of the eye, but likewise
from the sensible experience of all eyes, especially weak ones : The
shades or degrees of this color, as it is distributed in nature, are
innumerable ; and considering that it's genus bears so large a pro-
portion to the other colors (which nature seems to have devised and
distributed rather for the occasional diversion of our sight than for its
constant exercise) ought to be diligently studied and imitated in the
manual practice.

The beauty of a painting undoubtedly consists much in the
beauty of its coloring; and that, as I have endeavored to assert,
cannot consist in violent contrasts, or in sudden sparks and eruptions
(as one may call them) of bright and unqualified masses. Why
do painters observe a rule in setting their faitet ? The origin of the
practice was not merely arbitrary : It is founded in the Science of
their art : They know that the color of every object in Nature is to
be painted as partaking more or less of the color of the objects to
which it stands exposed ; and the convenient order of the grada -
tions in which the colors are laid on the pallet, is but the pattern or
rudiment of that chromatic gradation and harmony intended in
the picture.

Of the mechanic of colors, and of their different qualities and
powers in application to painting, the most intelligent and satis-
factory account that I know, is given in a late work (attributed to
Mr. Charles Gower, of Oriel college) intitled '■'■A practical treatise
'•_^ on painting in oil colors" — printed for B. and J. White, Fleet-street.

( '^o )

OF PERSPECTIVE.

ON this head — the ultimate attainment in drawing being to give
a faithful and accurate resemblance of the object, it is suffi-
cient to the scheme of this work to say, that I humbly think, the
mensuration of the objects to be painted, or of the relative propor-
tions of their distances one from another, and of one part of them
from another, will be more successfully attained by diligent and
continued observation of the objects themselves, and by comparing
them with your drawings, and attempts to imitate them, than by
technical geometry : It was very nearly the saying of some eminent
master, that " the painter's geometry should be in his eye : " How-
ever, since both the eye and every other faculty, are so materially
different in different persons, recourse may certainly be had to the
books which aim to facilitate this branch of the art by geometric
rules, by those who are disposed to study them ; or who find they
cannot acquire the proposed habit of accuracy, by observation: I
have read many of these books ; but that which, in my opinion, has
treated technical perspective with the most intelligence and perspi-
cuity, is the work of Daniel Fournier a painter — a very ingenious
man; but whose other necessary avocations [of cook, and shoemaker

#

( 21 )

and I know not what besides) having unhappily hindered his pro-
gress in litei'ature, he has not always expressed his precepts accu-
rately : His meaning, however, is not often difficult to understand :
He writes with force, and has an easy aptitude of ideas ; and the
diagrams and examples by which his precepts are illustrated, are,
to the best of my knowledge and taste, original and amusing.

( 22 )

ORIGINAL ETCHERS OF RURAL SCENERY

TH E most eminent artists of this description, I believe,
are John Both, Everdingen, Kobell, Rembrandt,
RuYSDAEL, SwANEVELDT, Weirotter, and WATERLOO ; and
the grand landscapes of Claude, Rubens, and PoussiN,
may be perused with equal profit for comprehensive effect — a
principle which attaches as necessarily to the lowest, as to the
highest orders of painting. Those of my readers who enjoy
the blessing of an affectionate parent, and a sincere friend, in
an honest and worthy man, will here indulge me, I hope, in
paying some little tribute of ^/ia/ gratitude : The best specimens
of prints by the masters above-named, that have come to my
knowledge, are in that very large collection possessed by my
father, Mr. Nathaniel Smith, Print-seller, in May's Buildings
— a collection which, having been made by one so eminent
both as an artist and sculptor, and of so extensive knowledge
and experience in the graphic arts, is probably the most consider-
able one in London.

( 23 )

■< I

OF CONNECTING OBJECTS, AND SELECTING THOSE ONLY
WHICH SHALL BE SUIIABLE TO THEIR STATIONS.

SHOULD we see a lady richly dressed, In the act of hoeing
turnips, or carrying a load of fish, we should certainly be
intitled to an excuse for wondering and being puzzled at the
phenomenon: But seeing the same elegant object at a cottage-
door, benevolently engaged in advising, consoling, or assist-
ing a distressed family, we should instantly perceive a pro-
priety of action, and a probable combination of circumstances ;
and the expanding heart would be hurried into a train of
grateful ideas, before a thought could be bestowed on the
mechanism by which it was effected.

Nothing perhaps claims a greater share of attention from
the artist than propriety of place: In this particular, tlfe Dutch
masters, though not alone, have probably been the most
eminent offenders: It has been objected to a picture said to
have been painted by a most illustrious master, and represent-
ing Christ and the disciples at Emaus, that the personages are
seated in an elegant arbor, in circumstances of the highest
liixury; and at the moment of our Lord's breaking the bread,

( M )

a dog and cat ai'e exhibited in the middle of the foreground, fight'
ing for a hone — An incident so extremely sordid and contemptible,
that I should be very willing to believe those writers misinformed
who have attributed this performance to the divine Raphael:
Had Mr. West suffered such an indecorum to disgrace his
noble picture of the last supper, in Windsor-chapel, the out-
rages he has sustained from some violent critics, would have
been justly merited.

To this head — of suiting every object to its place and cir-
cumstances— I must beg leave to be indulged in referring to a
picture of the supposed circumstances of the death of Chatterton,"!"
painted by Mr. Cranch under the very uncommon predicament of
having taught himself the art of painting in oil, after he was
thirty six years of age: In this curious and interesting little
piece, designed to represent an event, which will be lamented
while there is any sense of excellence, or any feeling of pity,
in the heart of man, every object and incident is cautiously
excluded which bears the least semblance of ease or consolation,
or which has the least tendency to divert mental pain, while
every image of misery is combined to awaken sympathy and

point regret A wretched garret — bare and ragged walls — a

patched casement — the "beggarly account of empty boxes" —
scattered fragments of literature — mean and rent garments — the

+ In the possession of Sm James Wintir Lakej Bart, at his seat at Edmonton; who has
been pleased to honor it with particular notice. j

{ 25 )

miserable flock bed — the horrid indications of poison — and every
symptom of despair! Perhaps the image of youthful genius,
hurried on to misery by a proud consciousness of its own powers
and claims on the world, and struggling it's last under the
combined tortures of oppression , and of the most violent bodily
pain, could not have been more forcibly or feelingly expressed :
It was remarked to me by an ingenious gentleman, that the
chilly coloring of this picture was happily appropriate to the senti-
ments suggested by the subject. I knew nothing of this artist,
'till the merit and circumstances of his original essay
induced me to seek a friendship which I shall ever hold it an
honor to retain.

Having had the foregoing occasion to mention Chatterton,
I am sorry to observe that the public has lately been imposed
upon in a very unwarrantable and audacious manner, by an ugly
goggle-ey'd portrait, prefix'd to some periodical publication,
and asserted to be a hkeness of Thomas Chatterton, by the
very persons who have confessed it to be a mere fabrication, and
(for any thing that is now known) destitute of any resemblance
whatever.

I now proceed to communicate a few other facts which I hope
may not be unacceptable to the collectors of prints.

( 26 )

The printsellers exhibited, for sometime, a portrait of a
Mr. Pond : The booksellers, who were publishing a spurious
edition of Peter Pindar's works, thought this a fit opportunity
to prefix to that edition, this very indentical head of Mr. Pond,
as the true effigy of — "the satyrist of the age!"

A few hours after De la motte, the french spy, wao execu-
ted, a portrait of him was etched and published, which sold very
rapidly : When Mr. Hackman was executed for the murder of
Miss Ray, the accommodating artist of De la motte, clapp'd
on a black patch to the forehead of his hero ; and without further
ceremony, dished up to the public, a french spy, for an unhappy
englishman — the lover and destroyer of Miss Ray !

I am informed of another portrait print of an eminent York-
sJiire Clothier, that, after having seen considerable service under
the title of General Putnam, and (since) as an American
Secretary at war, by the name of General Knox, has at present
the honor of representing his excellency George Washington!

The operation of extracting three generals, and a secretaiy
at war, out of one Yorkshire clothier, is so extraordinary, if true,
that I shall undoubtedly be excused from giving any more exam-
ples of this species of graphic ceconomy.

The nickname of Pot as the engraver of a plate of the por-
trait of Miss Baldwin, after a picture painted by Mr. Kettle,
was occasioned by an altercation between the painter and the en-
graver— the former insisting that the name of Kettle should not

( 27 )

stand with that of Houston, who thereupon (humorously enough)
substituted the fictitious name of Pot opposite to that of Kettle, in
aUusion to the vulgar proverb.*

Those Prints in Bromley's work, which are distinguished by
the signature of Paul, were etched by the ingenious Mr. Samuel
De Wilde, from drawings copied by him from his Majesty's
Clarendon, for the late earl of Bute: The artist, being then young,
was diffident of giving his own name to the public, and therefore
authorized the publisher to put any name he thought proper : In
Sir James Lake's valuable collection of english portraits, are
many of these drawings by De Wilde, which have never
been engraved.

• From the information of Mr. Charles Phillips, Engraver of the channing print of
Tycho fighting the evil-spirits, from a picture by De Loutherbourg.

FINIS

PRINTED

BY

JOSEPH DOWNES,

NEAR TEMPLE BAR,

LONDON.

Ow SroTii.ANO Gkf.kit, Fors'DF. n's-E:>'ii).

.,y.

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XADY PXOMKK'i: P^\ I. ACE, on the summu of HA^^K^'S lilLI. WOOO, Ki'PING Y OV.Y.'^T .9^-''^.^^^' '-^r^'^'ff.-^'^'-^i'

SUBSCRIBERS.

Lady Affleck
Thomas Allen, Esq.
Mrs. Allen
Mrs. Adder ton
Miss Ayton

B

His Grace the Duke of Bedford,

2 Copies
Right Hon. Sir John Blaquiere,

Bart.
Lady Burrell

Wm. Bentham, Esq. F. A. S.
Henry Bennett, Esq.
William Blake, Esq.
Miss Blake
Richard Bull, Esq.
Henry Berners, Esq. Holbrook
Thomas Boddam, Esq.
Mrs. Rawson Hart Boddam
John Bryan, Esq.
Michael Bryan, Esq. Pall

Mall, 2 Copies
Robei't Bradstreet, Esq.

Higham, Suffolk
Henry Buckley, Esq.
Michael Bowman, Esq.
John Butler, Esq.

Brett, Esq.

Mrs. Bignell

C

Mrs. Cobbold, Ipswich
Lewis Corkran, Esq.
John Constable, Esq. 2 Copies
Mr. John Cranch, Fellow of the
American Society of Arts
Mr. Clarke
Mr. Cock, Gen. Post Office

D

Col. Dowdeswell, M. P.
Daniel Daulby, Esq. Liverpool
John Davenport, Esq.
Mrs. Dorin, Edmonton
Mr. Joseph Downes

E

Mr. George Engleheart, Mini-
ature Painter

William Francks, Esq. Beach
Hill, Hadley

G

James Gubbins, Esq.

Charles Gardner, Esq.

Thomas Gayfere, Esq. Black-
heath

Rev. William Graham, Epsom,
Surrey

William Garbett, Esq. Here-
ford

Mr. Charles Greenwood, En-
field, Mills

H

Sir Richard Colt Hoare, Bart.

F. A. S.
Lady Hoare
Mrs. Felton Hervey
John Horsley, Esq.
Miss Hurlock, Dedham, Essex
James Halls, Esq. Colchester

Humble, Esq.

Mr. John Hughes

Mr. John Hammond, Surgeon,

Enfield
Mr. Hill

SUBSCRIBERS.

I

Col.. Johnes, M. P.

K

Michael Kean, Esq.

Mr. Alexander Mc Kenzie,

Portrait Modeller
Mr. Thomas King, Jun.

L

Sir James Winter Lake, Bart.
F. A. S.

Lady Lake

Mrs. Luther

Mr. Robert Leemlng

M

Lord Vise. Maynard

Lord Vise. Maiden

Matthew Michell, Esq.
F. S. A.

Joseph Musgrave, Esq.

Mrs. William Mason, Col-
chester

Mr. Henry Morland

O

Mrs. Ormsby

P
Miss Pocock
Capt. John Peyton
John Pasley, Esq.
Mr. Pyme

R

Rev. Herbert Randolph,
F. A. S. Wimbledon
Mr. P. Rogers, Colchester
Mr. William Reynolds
Mr. S. W. Reynolds, Engraver
Mr. John Richter, Engraver

Mrs. Stephenson, Farley Hill,
Reading

Mrs. Slack

Miss Sake

John Snell, Esq.

Christopher Strotoff, Esq. En-
- field

Benjamin Strutt, Esq. Col-
chester

Mr. Strutt, Deptford

Mr. Thomas Shaw

T

Sterne Tighe, Esq. F. A. S.
Mrs. Townshend, Busbridge,

Godalming, Surrey
Mrs. Tatem, Edmonton
Mr. Tunnard, Bank Side
Mr. Thane

W

Benjamin West, Esq. Histori-
cal painter to His Majesty,
and President of the Royal
Academy

Richard Wyatt, Esq. Milton
Place, Egham, 2 Copies

Edgell Wyatt, Esq.

Mrs. Isabella Wyatt, Grinstead
Place, Sussex, 2 Copies

Mrs. Frances Wyatt

Mrs. Wigston, Trent Park

Mrs. Whaley

Mrs. Williamson, Edmonton

David Pike Watts, Esq.

George Whitehead, Esq. Ban-
ker

Mr. Williams, Architect,
South-End, Essex

Mr. George Wilson, Engraver

Lady Shuldham

William Frederick Zincke, Esq.

roAu

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